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The Pulp Magazine Archive

Pulp magazines (often referred to as "the pulps"), also collectively known as pulp fiction, refers to inexpensive fiction magazines published from 1896 through the 1950s. The typical pulp magazine was seven inches wide by ten inches high, half an inch thick, and 128 pages long. Pulps were printed on cheap paper with ragged, untrimmed edges.

The name pulp comes from the cheap wood pulp paper on which the magazines were printed. Magazines printed on better paper were called "glossies" or "slicks." In their first decades, they were most often priced at ten cents per magazine, while competing slicks were 25 cents apiece. Pulps were the successor to the penny dreadfuls, dime novels, and short fiction magazines of the 19th century. Although many respected writers wrote for pulps, the magazines are best remembered for their lurid and exploitative stories and sensational cover art. Modern superhero comic books are sometimes considered descendants of "hero pulps"; pulp magazines often featured illustrated novel-length stories of heroic characters, such as The Shadow, Doc Savage, and The Phantom Detective.

The first "pulp" was Frank Munsey's revamped Argosy Magazine of 1896, about 135,000 words (192 pages) per issue on pulp paper with untrimmed edges and no illustrations, not even on the cover. While the steam-powered printing press had been in widespread use for some time, enabling the boom in dime novels, prior to Munsey, no one had combined cheap printing, cheap paper and cheap authors in a package that provided affordable entertainment to working-class people. In six years Argosy went from a few thousand copies per month to over half a million.

Street & Smith were next on the market. A dime novel and boys' weekly publisher, they saw Argosy's success, and in 1903 launched The Popular Magazine, billed as the "biggest magazine in the world" by virtue of being two pages longer than Argosy. Due to differences in page layout, the magazine had substantially less text than Argosy. The Popular Magazine introduced color covers to pulp publishing. The magazine began to take off when, in 1905, the publishers acquired the rights to serialize Ayesha, by H. Rider Haggard, a sequel to his popular novel She. Haggard's Lost World genre influenced several key pulp writers, including Edgar Rice Burroughs, Robert E. Howard, Talbot Mundy and Abraham Merritt. In 1907, the cover price rose to 15 cents and 30 pages were added to each issue; along with establishing a stable of authors for each magazine, this change proved successful and circulation began to approach that of Argosy. Street and Smith's next innovation was the introduction of specialized genre pulps, each magazine focusing on a genre such as detective stories, romance, etc.

At their peak of popularity in the 1920s and 1930s, the most successful pulps could sell up to one million copies per issue. The most successful pulp magazines were Argosy, Adventure, Blue Book and Short Stories described by some pulp historians as "The Big Four". Among the best-known other titles of this period were Amazing Stories, Black Mask, Dime Detective, Flying Aces, Horror Stories, Love Story Magazine, Marvel Tales, Oriental Stories, Planet Stories, Spicy Detective, Startling Stories, Thrilling Wonder Stories, Unknown, Weird Tales and Western Story Magazine. Although pulp magazines were primarily a US phenomenon, there were also a number of British pulp magazines published between the Edwardian era and World War Two. Notable UK pulps included Pall Mall Magazine, The Novel Magazine, Cassell's Magazine, The Story-Teller, The Sovereign Magazine, Hutchinson's Adventure-Story and Hutchinson's Mystery-Story. The German fantasy magazine Der Orchideengarten had a similar format to American pulp magazines, in that it was printed on rough pulp paper and heavily illustrated.

The Second World War paper shortages had a serious impact on pulp production, starting a steady rise in costs and the decline of the pulps. Beginning with Ellery Queen's Mystery Magazine in 1941, pulp magazines began to switch to digest size; smaller, thicker magazines. In 1949, Street & Smith closed most of their pulp magazines in order to move upmarket and produce slicks.[8] The pulp format declined from rising expenses, but even more due to the heavy competition from comic books, television, and the paperback novel. In a more affluent post-war America, the price gap compared to slick magazines was far less significant. In the 1950s, Men's adventure magazines began to replace the pulp.

The 1957 liquidation of the American News Company, then the primary distributor of pulp magazines, has sometimes been taken as marking the end of the "pulp era"; by that date, many of the famous pulps of the previous generation, including Black Mask, The Shadow, Doc Savage, and Weird Tales, were defunct. Almost all of the few remaining pulp magazines are science fiction or mystery magazines now in formats similar to "digest size", such as Analog Science Fiction and Fact and Ellery Queen's Mystery Magazine. The format is still in use for some lengthy serials, like the German science fiction weekly Perry Rhodan.

Over the course of their evolution, there were a huge number of pulp magazine titles; Harry Steeger of Popular Publications claimed that his company alone had published over 300, and at their peak they were publishing 42 titles per month. Many titles of course survived only briefly. While the most popular titles were monthly, many were bimonthly and some were quarterly. The collapse of the pulp industry changed the landscape of publishing because pulps were the single largest sales outlet for short stories. Combined with the decrease in slick magazine fiction markets, writers attempting to support themselves by creating fiction switched to novels and book-length anthologies of shorter pieces.

Pulp covers were printed in color on higher-quality (slick) paper. They were famous for their half-dressed damsels in distress, usually awaiting a rescuing hero. Cover art played a major part in the marketing of pulp magazines. The early pulp magazines could boast covers by some distinguished American artists; The Popular Magazine had covers by N.C. Wyeth, and Edgar Franklin Wittmack contributed cover art to Argosy and Short Stories. Later, many artists specialized in creating covers mainly for the pulps; a number of the most successful cover artists became as popular as the authors featured on the interior pages. Among the most famous pulp artists were Walter Baumhofer, Earle K. Bergey, Margaret Brundage, Edd Cartier, Virgil Finlay, Earl Mayan, Frank R. Paul, Norman Saunders, Nick Eggenhofer, (who specialized in Western illustrations), Rudolph Belarski and Sidney Riesenberg. Covers were important enough to sales that sometimes they would be designed first; authors would then be shown the cover art and asked to write a story to match.

Later pulps began to feature interior illustrations, depicting elements of the stories. The drawings were printed in black ink on the same cream-colored paper used for the text, and had to use specific techniques to avoid blotting on the coarse texture of the cheap pulp. Thus, fine lines and heavy detail were usually not an option. Shading was by crosshatching or pointillism, and even that had to be limited and coarse. Usually the art was black lines on the paper's background, but Finlay and a few others did some work that was primarily white lines against large dark areas.

Another way pulps kept costs down was by paying authors less than other markets; thus many eminent authors started out in the pulps before they were successful enough to sell to better-paying markets, and similarly, well-known authors whose careers were slumping or who wanted a few quick dollars could bolster their income with sales to pulps. Additionally, some of the earlier pulps solicited stories from amateurs who were quite happy to see their words in print and could thus be paid token amounts. There were also career pulp writers, capable of turning out huge amounts of prose on a steady basis, often with the aid of dictation to stenographers, machines or typists. Before he became a novelist, Upton Sinclair was turning out at least 8,000 words per day seven days a week for the pulps, keeping two stenographers fully employed. Pulps would often have their authors use multiple pen names so that they could use multiple stories by the same person in one issue, or use a given author's stories in three or more successive issues, while still appearing to have varied content. One advantage pulps provided to authors was that they paid upon acceptance for material instead of on publication; since a story might be accepted months or even years before publication, to a working writer this was a crucial difference in cash flow.

Some pulp editors became known for cultivating good fiction and interesting features in their magazines. Preeminent pulp magazine editors included Arthur Sullivant Hoffman (Adventure), Robert H. Davis (All-Story Weekly), Harry E. Maule (Short Stories) Donald Kennicott (Blue Book), Joseph T. Shaw (Black Mask), Farnsworth Wright (Weird Tales, Oriental Stories), John W. Campbell (Astounding Science Fiction,Unknown) and Daisy Bacon (Love Story Magazine, Detective Story Magazine).

Description of this collection from Wikipedia.

Many issues of this collection come from a variety of anonymous contributors, as well as sites such as The Pulp Magazines Project and ThePulp.net.

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IF Magazine
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The writings of Lester Del Rey have been removed due to a request by John Betancourt of Wildside Press. (Contents information excerpted from The Internet Speculative Fiction Database ) Art: Stranger in Paradise by Jack Gaughan House Divided by Jack Gaughan Berserker's Planet (Part 1 of 2) by Jack Gaughan Cantor's War by Jack Gaughan Aura of Immortality by Jack Gaughan Second Advent by Jack Gaughan The People's Choice by uncredited Nostradamus by Jack Gaughan Ars Gratia (If, May-June 1974) by...
Topics: schoenberg, suomi, lenoir, planet, fiction, hranth, rick, anthony, leros, science fiction, rick...
IF Magazine
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The writings of Lester Del Rey have been removed due to a request by John Betancourt of Wildside Press. (Contents information excerpted from The Internet Speculative Fiction Database ) Art: Midnight by the Morphy Watch by uncredited A Little Night Flying by uncredited Ars Gratia (If, July-August 1974) by Freff Half-Baked Publisher's Delight by Freff Plaything by Jack Gaughan No Time Like the Past by uncredited Berserker's Planet (Part 2 of 2) by uncredited Angel Fix by Freff Tube by Jack...
Topics: alien, suomi, hasson, schoenberg, andreas, planet, thomas, leros, cleever, science fiction, high...
IF Magazine
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The writings of Lester Del Rey have been removed due to a request by John Betancourt of Wildside Press. (Contents information excerpted from The Internet Speculative Fiction Database ) Art: The Ginger Star (Part 1 of 2) by Jack Gaughan Mistaken for Granted by Jack Gaughan If Ever I Should Leave You by Jack Gaughan Eye of the Storm by Jack Gaughan Transplant by Jack Gaughan Continuous Performance by Jack Gaughan Essay: Reading Room (If, January-February 1974) by Lester del Rey Novella: Mistaken...
Topics: stark, rick, talles, phobias, yarrod, amnir, marie, gelmar, doug, ginger star, science fiction, jim...
IF Magazine
by Galaxy Publishing Corporation
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Note: At the request of the estate of Poul Anderson, the serial part "A Knight of Ghosts and Shadows" has been removed from this online copy. The writings of Lester Del Rey have been removed due to a request by John Betancourt of Wildside Press. (Contents information excerpted from The Internet Speculative Fiction Database ) Art: The Descent of Man by Freff Stormy Weather by Freff Time Deer by Harting A Knight of Ghosts and Shadows (Part 2 of 2) by Jack Gaughan Gut in Peril by Jack...
Topics: mellett, muldaur, rachel, science, fatta, fiction, lst, galaxy, knabe, science fiction, fatta gut,...
IF Magazine
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Note: The serial "A Knight of Ghosts and Shadows" by Poul Anderson has been removed at the request of the estate of Poul Anderson. The writings of Lester Del Rey have been removed due to a request by John Betancourt of Wildside Press. (Contents information excerpted from The Internet Speculative Fiction Database ) Art: A Knight of Ghosts and Shadows (Part 1 of 2) by uncredited Torchships Now! (If, September-October 1974) by Freff Ars Gratia (If, September-October 1974) by Edward...
Topics: lisbon, egantei, ion, science, fiction, mephisto, fusion, technarch, solar, science fiction, solar...
The Pulp Magazine Archive
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Famous Fantastic Classics was a short-lived series of trade paperback anthologies of science fiction and fantasy stories which had originally been published in pulp magazines. Only two books (both anonymously edited by Robert E. Weinberg) were issued - the first appeared in 1974 and the second in 1975. Famous Fantastic Classics #01 ed. Anon. (by Robert E. Weinberg) (West Linn, OR: FAX Collector's Editions, 1974, 128pp, tp) Facsimile reproductions from the original magazines. Cover artwork by...
Topics: Pulps, Pulp Magazines, Science Fiction, Fantasy, Ray Cummings, Arthur Leo Zagat, Homer Eon Flint,...
The concept of the facsimile reprint may have been invented by Charles Bragin back in the 1940s with his Dime Novel Club which published facsimile editions of dime novels (from 1945-1960). One of the first companies to attempt to extend the practice to pulp magazines was Odyssey Publications. From 1974 to 1981, Odyssey Publications published a series of eleven anthologies of pulp stories in a perfect-bound trade paperback format. The original plan was to publish sets of four titles: two...
Topics: Pulp, Pulp Magazine, Spicy Adventure Stories, Spicy Pulps, Adventure Stories, Science Fiction,...
The Pulp Magazine Archive
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The history of this British fanzine gets even more convoluted as David Britton's Weird Fantasy (later Bognor Regis - renamed after a resort town on the south coast of England) takes over the Crucified Toad name begun by John Muir, for what would be the final issue of both Crucified Toad and Weird Fantasy . This issue reprints one of the first articles on author and artist Mervyn Peake, which was originally written in 1950 for Ken Slater's British fanzine Operation Fantast by Dr. David H....
Topics: Fanzine, Science Fiction, Fantasy, Mervyn Peake, David H. Keller, Michael Moorcock, Elric of...